Research Catalogue

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

Only Here to Adore is an artistic research of the interaction between garden owners and plants. It unfolds in three parts. The first part takes place at Landlyst Plantecenter just outside Hjørring in the North of Denmark where Gerner Nielsen interviews garden owners about what they have purchased at the garden center and their hopes and dreams for their summer garden. These interviews form the foundation for developing scores and a choreography for a performance that Gerner Nielsen and another performer will show at Vendsyssel Kunstmuseum in Denmark. The performance is also filmed by Louise Ørsted Jensen and turned into a video work. Curated by Skal Contemporary

Nine research groups from HKU, Hanze University of Applied Sciences, Fontys, and Utrecht University of Applied Sciences are joining forces with UvH and UMCU to bring a new perspective on healthcare through the arts, supported by the SIA-SPRONG grant. Using a transdisciplinary approach, this research group and its partners are developing new methods, practices, and scenarios within healthcare and well-being contexts—not for, but with each other.

The Recorded Body is a process-based sound art project about bodily iteration and interdependence. It uses participatory performance and embodied listening techniques to explore the following questions: How do we recognize each other's bodies? What is contained by the body, and what is outside its bounds? When does a body need or necessitate other bodies?

The right to have or not to have a religion is a basic human right. Ensuring disbelievers have the same and equal rights with all the citizens of the world – with or without a particular religious inclination – would require globalized legal and cultural structures.

This Exposition is a brief ironic comment on the ongoing degradation, commodification, and colonisation of food and its many dimensions — recipes, ingredients, context — and a reflection on the territorial definitions that shape identity, in this case of South Asians and the Global South, once bound together as a people and still united in the brieftopian world of the Author’s Greatest Biryani: an amalgamative dish of political and cultural reproductions, drenched in time, where old and new contest identity. Through a conversational, autoethnographic lens, the exposition blends historical, colonial, and territorial reflections, using Biryani as both departure point and metaphor for shared identity and dislocation. Visual collages — archival, familial, and sourced — act as probes connecting memory, culture, and belonging. Ultimately, the work offers the Author’s Greatest Biryani as a living document of generational knowledge and a utopian gesture, inviting both insiders and outsiders to gather around a dish transcending borders and time.